子非鱼1102
1.1钢筋混凝土 素混凝土是由水泥、水、细骨料、粗骨料（碎石或；卵石）、空气，通常还有其他外加剂等经过凝固硬化而成。将可塑的混凝土拌合物注入到模板内，并将其捣实，然后进行养护，以加速水泥与水的水化反应，最后获得硬化的混凝土。其最终制成品具有较高的抗压强度和较低的抗拉强度。其抗拉强度约为抗压强度的十分之一。因此，截面的受拉区必须配置抗拉钢筋和抗剪钢筋以增加钢筋混凝土构件中较弱的受拉区的强度。 由于钢筋混凝土截面在均质性上与标准的木材或钢的截面存在着差异，因此，需要对结构设计的基本原理进行修改。将钢筋混凝土这种非均质截面的两种组成部分按一定比例适当布置，可以最好的利用这两种材料。这一要求是可以达到的。因混凝土由配料搅拌成湿拌合物，经过振捣并凝固硬化，可以做成任何一种需要的形状。如果拌制混凝土的各种材料配合比恰当，则混凝土制成品的强度较高，经久耐用，配置钢筋后，可以作为任何结构体系的主要构件。 浇筑混凝土所需要的技术取决于即将浇筑的构件类型，诸如：柱、梁、墙、板、基础，大体积混凝土水坝或者继续延长已浇筑完毕并且已经凝固的混凝土等。对于梁、柱、墙等构件，当模板清理干净后应该在其上涂油，钢筋表面的锈及其他有害物质也应该被清除干净。浇筑基础前，应将坑底土夯实并用水浸湿6英寸，以免土壤从新浇的混凝土中吸收水分。一般情况下，除使用混凝土泵浇筑外，混凝土都应在水平方向分层浇筑，并使用插入式或表面式高频电动振捣器捣实。必须记住，过分的振捣将导致骨料离析和混凝土泌浆等现象，因而是有害的。 水泥的水化作用发生在有水分存在，而且气温在50°F以上的条件下。为了保证水泥的水化作用得以进行，必须具备上述条件。如果干燥过快则会出现表面裂缝，这将有损与混凝土的强度，同时也会影响到水泥水化作用的充分进行。 设计钢筋混凝土构件时显然需要处理大量的参数，诸如宽度、高度等几何尺寸，配筋的面积，钢筋的应变和混凝土的应变，钢筋的应力等等。因此，在选择混凝土截面时需要进行试算并作调整，根据施工现场条件、混凝土原材料的供应情况、业主提出的特殊要求、对建筑和净空高度的要求、所用的设计规范以及建筑物周围环境条件等最后确定截面。钢筋混凝土通常是现场浇注的合成材料，它与在工厂中制造的标准的钢结构梁、柱等不同，因此对于上面所提到的一系列因素必须予以考虑。 对结构体系的各个部位均需选定试算截面并进行验算，以确定该截面的名义强度是否足以承受所作用的计算荷载。由于经常需要进行多次试算，才能求出所需的 3 截面，因此设计时第一次采用的数值将导致一系列的试算与调整工作。 选择混凝土截面时，采用试算与调整过程可以使复核与设计结合在一起。因此，当试算截面选定后，每次设计都是对截面进行复核。手册、图表和微型计算机以及专用程序的使用，使这种设计方法更为简捷有效，而传统的方法则是把钢筋混凝土的复核与单纯的设计分别进行处理。 1.2土方工程 由于和土木工程中任何其他工种的施工方法与费用相比较，土方挖运的施工方法与费用的变化都要快得多，因此对于有事业心的人来说，土方工程是一个可以大有作为的领域。在1935年，目前采用的利用轮胎式机械设备进行土方挖运的方法大多数还没有出现。那是大部分土方是采用窄轨铁路运输，在这目前来说是很少采用的。当时主要的开挖方式是使用正铲、反铲、拉铲或抓斗等挖土机，尽管这些机械目前仍然在广泛应用，但是它们只不过是目前所采用的许多方法中的一小部分。因此，一个工程师为了使自己在土方挖运设备方面的知识跟得上时代的发展，他应当花费一些时间去研究现代的机械。一般说来，有关挖土机、装载机和运输机械的唯一可靠而又最新的资料可以从制造厂商处获得。 土方工程或土方挖运工程指的是把地表面过高处的土壤挖去（挖方），并把它倾卸到地表面过低的其他地方（填方）。为了降低土方工程费用，填方量应该等于挖方量，而且挖方地点应该尽可能靠近土方量相等的填方地点，以减少运输量和填方的二次搬运。土方设计这项工作落到了从事道路设计的工程师的身上，因为土方工程的设计比其他任何工作更能决定工程造价是否低廉。根据现有的地图和标高，道路工程师应在设计绘图室中的工作也并不是徒劳的。它将帮助他在最短的时间内获得最好的方案。 费用最低的运土方法是用同一台机械直接挖方取土并且卸土作为填方。这并不是经常可以做到的，但是如果能够做到则是很理想的，因为这样做既快捷又省钱。拉铲挖土机。推土机和正铲挖土机都能做到这点。拉铲挖土机的工作半径最大。推土机所推运的图的数量最多，只是运输距离很短。拉铲挖土机的缺点是只能挖比它本身低的土，不能施加压力挖入压实的土壤内，不能在陡坡上挖土，而且挖。卸都不准确。 正铲挖土机介于推土机和拉铲挖土机的之间，其作用半径大于推土机，但小于拉铲挖土机。正铲挖土机能挖取竖直陡峭的工作面，这种方式对推土机司机来说是危险的，而对拉铲挖土机则是不可能的。每种机械设备应该进行最适合它的性能的作业。正铲挖土机不能挖比其停机平面低很多的土，而深挖坚实的土壤时，反铲挖土机最适用，但其卸料半径比起装有正铲的同一挖土机的卸料半径则要小很多。在比较平坦的场地开挖，如果用拉铲或正铲挖土机运输距离太远时，则装有轮胎式的斗式铲运机就是比不可少的。它能在比较平的地面上挖较深的土（但只能挖机械本身下面的土），需要时可以将土运至几百米远，然后卸土并在卸土的过程中把土大致铲平。在挖掘硬土时，人们发现在开挖场地经常用一辆助推拖拉机（轮式或履带式），对返回挖土的铲运机进行助推这种施工方法是经济的。一旦铲运机装满，助推拖拉机就回到开挖的地点去帮助下一台铲运机。 斗式铲运机通常是功率非常大的机械，许多厂家制造的铲运机铲斗容量为8 m³，满载时可达10 m³。最大的自行式铲运机铲斗容量为19立方米（满载时为25 m³），由430马力的牵引发动机驱动。 翻斗机可能是使用最为普遍的轮胎式运输设备，因为它们还可以被用来送混凝土或者其他建筑材料。翻斗车的车斗位于大橡胶轮胎车轮前轴的上方，尽管铰接式翻斗车的卸料方向有很多种，但大多数车斗是向前翻转的。最小的翻斗车的容量大约为0.5立方米，而最大的标准型翻斗车的容量大约为4.5m³。特殊型式的翻斗车包括容量为4 m³的自装式翻斗车，和容量约为0.5 m³的铰接式翻斗车。必须记住翻斗车与自卸卡车之间的区别。翻斗车车斗向前倾翻而司机坐在后方卸载，因此有时被称为后卸卡车。 1.3结构的安全度 规范的主要目的是提供一般性的设计原理和计算方法，以便验算结构的安全度。就目前的趋势而言，安全系数与所使用的材料性质及其组织情况无关，通常把它定义为发生破坏的条件与结构可预料的最不利的工作条件之比值。这个比值还与结构的破坏概率（危险率）成反比。 破坏不仅仅指结构的整体破坏，而且还指结构不能正常的使用，或者，用更为确切的话来说，把破坏看成是结构已经达到不能继续承担其设计荷载的“极限状态”。通常有两种类型的极限状态，即： （1）强度极限状态，它相当于结构能够达到的最大承载能力。其例子包括结构的局部屈曲和整体不稳定性；某此界面失效，随后结构转变为机构；疲劳破坏；引起结构几何形状显著变化的弹性变形或塑性变形或徐变；结构对交变荷载、火灾和爆炸的敏感性。 （2）使用极限状态，它对应着结构的使用功能和耐久性。器例子包括结构失稳之前的过大变形和位移；早期开裂或过大的裂缝；较大的振动和腐蚀。 根据不同的安全度条件，可以把结构验算所采用的计算方法分成： （1）确定性的方法，在这种方法中，把主要参数看作非随机参数。 （2）概率方法，在这种方法中，主要参数被认为是随机参数。此外，根据安全系数的不同用途，可以把结构的计算方法分为： （1）容许应力法，在这种方法中，把结构承受最大荷载时计算得到的应力与经过按规定的安全系数进行折减后的材料强度作比较。 （2）极限状态法，在这种方法中，结构的工作状态是以其最大强度为依据来衡量的。由理论分析确定的这一最大强度应不小于结构承受计算荷载所算得的强度（极限状态）。计算荷载等于分别乘以荷载系数的活载与恒载之和。 把对应于不乘以荷载系数的活载和恒载的工作（使用）条件的应力与规定值（使用极限状态）相比较。根据前两种方法和后两种方法的四种可能组合，我们可以得到一些实用的计算方法。通常采用下面两种计算方法： 确定性的方法，这种方法采用容许应力。 概率方法，这种方法采用极限状态。 至少在理论上，概率法的主要优点是可以科学的考虑所有随机安全系数，然后将这些随机安全系数组合成确定的安全系数。概率法取决于： 2.1 Reinforced Concrete Plain concrete is formed from a hardened mixture of cement ,water ,fine aggregate, coarse aggregate (crushed stone or gravel),air, and often other admixtures. The plastic mix is placed and consolidated in the formwork, then cured to facilitate the acceleration of the chemical hydration reaction lf the cement/water mix, resulting in hardened concrete. The finished product has high compressive strength, and low resistance to tension, such that its tensile strength is approximately one tenth lf its compressive strength. Consequently, tensile and shear reinforcement in the tensile regions of sections has to be provided to compensate for the weak tension regions in the reinforced concrete element. It is this deviation in the composition of a reinforces concrete section from the homogeneity of 答题实属不易，请楼主谅解，求采纳~
小胖怡情
关于“Modern Architecture”的 Modern architecture, not to be confused with 'contemporary architecture', is a term given to a number of building styles with similar characteristics, primarily the simplification of form and the elimination of ornament. While the style was conceived early in the 20th century and heavily promoted by a few architects, architectural educators and exhibits, very few Modern buildings were built in the first half of the century. For three decades after the Second World War, however, it became the dominant architectural style for institutional and corporate building. 1. Origins Some historians see the evolution of Modern architecture as a social matter, closely tied to the project of Modernity and hence to the Enlightenment, a result of social and political revolutions. Others see Modern architecture as primarily driven by technological and engineering developments, and it is true that the availability of new building materials such as iron, steel, concrete and glass drove the invention of new building techniques as part of the Industrial Revolution. In 1796, Shrewsbury mill owner Charles Bage first used his ‘fireproof’ design, which relied on cast iron and brick with flag stone floors. Such construction greatly strengthened the structure of mills, which enabled them to accommodate much bigger machines. Due to poor knowledge of iron's properties as a construction material, a number of early mills collapsed. It was not until the early 1830s that Eaton Hodgkinson introduced the section beam, leading to widespread use of iron construction, this kind of austere industrial architecture utterly transformed the landscape of northern Britain, leading to the description, "Dark satanic mills" of places like Manchester and parts of West Yorkshire. The Crystal Palace by Joseph Paxton at the Great Exhibition of 1851 was an early example of iron and glass construction; possibly the best example is the development of the tall steel skyscraper in Chicago around 1890 by William Le Baron Jenney and Louis Sullivan. Early structures to employ concrete as the chief means of architectural expression (rather than for purely utilitarian structure) include Frank Lloyd Wright's Unity Temple, built in 1906 near Chicago, and Rudolf Steiner's Second Goetheanum, built from 1926 near Basel, Switzerland. Other historians regard Modernism as a matter of taste, a reaction against eclecticism and the lavish stylistic excesses of Victorian Era and Edwardian Art Nouveau. Whatever the cause, around 1900 a number of architects around the world began developing new architectural solutions to integrate traditional precedents (Gothic, for instance) with new technological possibilities. The work of Louis Sullivan and Frank Lloyd Wright in Chicago, Victor Horta in Brussels, Antoni Gaudi in Barcelona, Otto Wagner in Vienna and Charles Rennie Mackintosh in Glasgow, among many others, can be seen as a common struggle between old and new. 2. Modernism as Dominant Style By the 1920s the most important figures in Modern architecture had established their reputations. The big three are commonly recognized as Le Corbusier in France, and Ludwig Mies van der Rohe and Walter Gropius in Germany. Mies van der Rohe and Gropius were both directors of the Bauhaus, one of a number of European schools and associations concerned with reconciling craft tradition and industrial technology. Frank Lloyd Wright's career parallels and influences the work of the European modernists, particularly via the Wasmuth Portfolio, but he refused to be categorized with them. Wright was a major influence on both Gropius and van der Rohe, however, as well as on the whole of organic architecture. In 1932 came the important MOMA exhibition, the International Exhibition of Modern Architecture, curated by Philip Johnson. Johnson and collaborator Henry-Russell Hitchcock drew together many distinct threads and trends, identified them as stylistically similar and having a common purpose, and consolidated them into the International Style. This was an important turning point. With World War II the important figures of the Bauhaus fled to the United States, to Chicago, to the Harvard Graduate School of Design, and to Black Mountain College. While Modern architectural design never became a dominant style in single-dwelling residential buildings, in institutional and commercial architecture Modernism became the pre-eminent, and in the schools (for leaders of the profession) the only acceptable, design solution from about 1932 to about 1984. Architects who worked in the international style wanted to break with architectural tradition and design simple, unornamented buildings. The most commonly used materials are glass for the facade, steel for exterior support, and concrete for the floors and interior supports; floor plans were functional and logical. The style became most evident in the design of skyscrapers. Perhaps its most famous manifestations include the United Nations headquarters (Le Corbusier, Oscar Niemeyer, Sir Howard Robertson), the Seagram Building (Ludwig Mies van der Rohe), and Lever House (Skidmore, Owings, and Merrill), all in New York. A prominent residential example is the Lovell House (Richard Neutra) in Los Angeles. Detractors of the international style claim that its stark, uncompromisingly rectangular geometry is dehumanising. Le Corbusier once described buildings as "machines for living", but people are not machines and it was suggested that they do not want to live in machines. Even Philip Johnson admitted he was "bored with the box." Since the early 1980s many architects have deliberately sought to move away from rectilinear designs, towards more eclectic styles. During the middle of the century, some architects began experimenting in organic forms that they felt were more human and accessible. Mid-century modernism, or organic modernism, was very popular, due to its democratic and playful nature. Alvar Aalto and Eero Saarinen were two of the most prolific architects and designers in this movement, which has influenced contemporary modernism. Although there is debate as to when and why the decline of the modern movement occurred, criticism of Modern architecture began in the 1960s on the grounds that it was universal, sterile, elitist and lacked meaning. Its approach had become ossified in a "style" that threatened to degenerate into a set of mannerisms. Siegfried Giedion in the 1961 introduction to his evolving text, Space, Time and Architecture (first written in 1941), could begin "At the moment a certain confusion exists in contemporary architecture, as in painting; a kind of pause, even a kind of exhaustion." At the Metropolitan Museum of Art, a 1961 symposium discussed the question "Modern Architecture: Death or Metamorphosis?" In New York, the coup d'état appeared to materialize in controversy around the Pan Am Building that loomed over Grand Central Station, taking advantage of the modernist real estate concept of "air rights",[1] In criticism by Ada Louise Huxtable and Douglas Haskell it was seen to "sever" the Park Avenue streetscape and "tarnish" the reputations of its consortium of architects: Walter Gropius, Pietro Belluschi and the builders Emery Roth & Sons. The rise of postmodernism was attributed to disenchantment with Modern architecture. By the 1980s, postmodern architecture appeared triumphant over modernism, including the temple of the Light of the World, a futuristic design for its time Guadalajara Jalisco La Luz del Mundo Sede International; however, postmodern aesthetics lacked traction and by the mid-1990s, a neo-modern (or hypermodern) architecture had once again established international pre-eminence. As part of this revival, much of the criticism of the modernists has been revisited, refuted, and re-evaluated; and a modernistic idiom once again dominates in institutional and commercial contemporary practice, but must now compete with the revival of traditional architectural design in commercial and institutional architecture; residential design continues to be dominated by a traditional aesthetic.
迪士尼0918
This was an important turning point. With World War II the important figures of the Bauhaus fled to the United States, to Chicago, to the Harvard Graduate School of Design, and to Black Mountain College. While Modern architectural design never became a dominant style in single-dwelling residential buildings, in institutional and commercial architecture Modernism became the pre-eminent, and in the schools (for leaders of the profession) the only acceptable, design solution from about 1932 to about 1984. Architects who worked in the international style wanted to break with architectural tradition and design simple, unornamented buildings. The most commonly used materials are glass for the facade, steel for exterior support, and concrete for the floors and interior supports; floor plans were functional and logical. The style became most evident in the design of skyscrapers. Perhaps its most famous manifestations include the United Nations headquarters (Le Corbusier, Oscar Niemeyer, Sir Howard Robertson), the Seagram Building (Ludwig Mies van der Rohe), and Lever House (Skidmore, Owings, and Merrill), all in New York. A prominent residential example is the Lovell House (Richard Neutra) in Los Angeles. Detractors of the international style claim that its stark, uncompromisingly rectangular geometry is dehumanising. Le Corbusier once described buildings as "machines for living", but people are not machines and it was suggested that they do not want to live in machines. Even Philip Johnson admitted he was "bored with the box." Since the early 1980s many architects have deliberately sought to move away from rectilinear designs, towards more eclectic styles. During the middle of the century, some architects began experimenting in organic forms that they felt were more human and accessible. Mid-century modernism, or organic modernism, was very popular, due to its democratic and playful nature. Alvar Aalto and Eero Saarinen were two of the most prolific architects and designers in this movement, which has influenced contemporary modernism. Although there is debate as to when and why the decline of the modern movement occurred, criticism of Modern architecture began in the 1960s on the grounds that it was universal, sterile, elitist and lacked meaning. Its approach had become ossified in a "style" that threatened to degenerate into a set of mannerisms. Siegfried Giedion in the 1961 introduction to his evolving text, Space, Time and Architecture (first written in 1941), could begin "At the moment a certain confusion exists in contemporary architecture, as in painting; a kind of pause, even a kind of exhaustion." At the Metropolitan Museum of Art, a 1961 symposium discussed the question "Modern Architecture: Death or Metamorphosis?" In New York, the coup d'état appeared to materialize in controversy around the Pan Am Building that loomed over Grand Central Station, taking advantage of the modernist real estate concept of "air rights",[1] In criticism by Ada Louise Huxtable and Douglas Haskell it was seen to "sever" the Park Avenue streetscape and "tarnish" the reputations of its consortium of architects: Walter Gropius, Pietro Belluschi and the builders Emery Roth & Sons. The rise of postmodernism was attributed to disenchantment with Modern architecture. By the 1980s, postmodern architecture appeared triumphant over modernism, including the temple of the Light of the World, a futuristic design for its time Guadalajara Jalisco La Luz del Mundo Sede International; however, postmodern aesthetics lacked traction and by the mid-1990s, a neo-modern (or hypermodern) architecture had once again established international pre-eminence. As part of this revival, much of the criticism of the modernists has been revisited
黑糖miko
〔提要〕随着社会的进步和人类对工作、生活环境要求的提高,人们对给排水工程的设计已除了要求有合理、先进的工艺流程,能生产出高质量的水,还需要整个厂区有一个整洁优美的环境和赏心悦目的建筑形态。这就必须对给排水工程的原有设计方法和程序思路有一个较大的改变,应把设计的全过程看成是一个持续发展的、不断开放的、经常变化的动态体系,以确保设计出一个优秀工程来。一、问题的由来随着社会的进步和人类对工作环境、生活质量,特别是对美的追求的不断提高,人们已不再满足于原有的一套设计习惯。并且随着我国市场经济的确立,为了在竞争激烈的市场中求得生存和发展,更要求对以前不受建筑设计重视的给排水工程的设计来一个较大的改革,以适应日趋变化的业主市场。长期以来,给排水工程设计采用的是一种封闭静止的方法,就工艺而工艺,就生产而生产,仅仅只是为了满足单一的一种功能,没有综合地考虑各种要素,因此工程的最终结果必然不能全方位地满足业主的各方面要求,更不能满足日趋重要的环境要求。近年来给排水工程设计的经验教训告诉人们必须在设计的观念上要有一个较大的革新,或者说必须有一个新的认识才能真正确保给排水工程的设计质量的提高,即良好的功能和良好的建筑形象的高度统一。良好的功能可为生产和管理人员创造舒适安全和整洁优美的环境,从而提高劳动生产率;而良好的建筑形象也是一种功能,这种功能不光是物质上的还有精神上的。水厂建筑的特点:一是工业建筑范畴,但不能忽略其美观;二是建筑物匍伏于地,尺度不大,并且形式单调均一分散、变化不大;三是构筑物所占比重特大,表现在体量闷沉、笨重,而且一般布置在厂区平面显眼的中心位置;四是污水处理厂气味重而难闻;五是为使水厂的环境更加接近自然,需有大面积的绿化。因此,水厂的建筑设计的意义倒并不完全在于如何做好工艺(这是很重要的),如何画出一张美丽的图画,而在于其理想的目标能得以实现,完美的构思能得以表达,合理的功能能得以兑现,以及优雅的环境能得以体现。为了达到这个目的,水厂的建筑设计首先应该在确实掌握丰富的信息、详实的资料的条件下,在加强内部工种联系的前提下,在正确的设计原则指导下和正确的方式组织下,有步骤、有计划地应用现代化的科学方法和先进的技术手段去加以制订(其中还要特别重视国外的各种先进经验)。我们不能把设计的全过程看成是一个封闭———自立门户的模式;单一———就事论事的模式,稳定———一成不变的模式;而应该看成是一个持续发展的、不断开放的、经常变化的动态体系,才能确保设计出一个完美的优秀工程。二、要注意的几个因素1 工艺流程的要求给水处理厂即一般常称的自来水厂。由于原水水质不同,工艺流程有各种组合,但它的基本工艺为混合、絮凝、沉淀、过滤和消毒。在城市水厂中,基本流程为原水→一级泵房→加药→絮凝池→沉淀或澄清池→滤池→消毒清水池→二级泵房→用户。水厂内的主体处理构筑物中沉淀池、滤池基本上都高出地面,只有清水池可以埋入地下,而当沉淀采用平流式沉淀时,其池长达100余m,在水厂中会形成单调冗长的池体,都需加以仔细设计。大多数的城市污水处理厂的流程一般为提升后的污水重力经格栅→沉砂→初沉→曝气→二沉→消毒→出流。如果排入的水体是感潮水体,有时亦会在处理水排入前有提升泵站,以解决高潮时污水厂的出水问题。对于地下水位高的地区兴建的污水厂,为了解决构筑物的空池抗浮,往往以出水末端构筑物的高度为控制,而将进水泵站以后的构筑物以高出地面3～4m布置,这样就必须对这种沉闷不堪的大体量砼面作建筑处理,同时也必须对池间联系的狭小的通道走廊作恰当的建筑处理,否则作为一个整体环境来讲是极不理想的,往往也不易被人们所接受。2 总体规划的要求总体规划非常重要,它是设计的灵魂。在规划时首先要有一个总体布局的构思,其中应包括:工艺布局的合理、道路走向的清晰、广场的适宜、地域的平衡、人流的互不交叉和公建用房(即生活区,其中包括办公、科研、试验、管理、会议室、食堂、厨房等内容)的最佳布置,然后按照①功能分区合理、简捷、便利、经济的原则;②风向、日照、地形有利的原则;③构图优美、对比均衡、空间流通的原则等,根据工艺流程的要求,结合厂址的自然条件及环境条件(包括地形以至地质条件、厂外道路系统、绿化条件、朝向、原有建筑物等)来进行总体规划。在总体规划中必须注意要创造良好的日照、空气和通风条件,还要尽量避免噪声的干扰,合理安排和大量利用绿化,把生态环境放在首位统一规划(特别是厂前区),然后将建筑物(或构筑物)布置在经过深思熟虑的绿化等环境中。在绿化设施中须充分考虑到生态绿化和景观绿化的有机结合,并多种植些可以释放有益气体和减少尘埃的树种,以改善厂区环境,减少空气污染,提高厂区的明洁度。同时,建筑物(构筑物)的设计原则还必须在立足于“环境、空间、形式”三者统一的原则基础上,使群体形象和个体形象都能表现出一种内在的含蓄和谐调,并通过曲直、高低、虚实、明暗、黑白、凹凸、方圆、上下等造型元素和设计手法的运用充分体现出工艺工程设计的新境界。3 传统观念的改革传统是指技术上、文化上历史的凝聚、沉淀和积累,它是人们长期经验和教训的总结,是固有的客观存在。它之所以能长期继承,经久不衰,并在某些方面形成一种固有的心理态势,就是因为它具有一定的吸引力和耐人寻味的余韵,因此它往往极易被人们长久地、习惯地循套,自然地袭用,即使有时会出现一些问题和不足,但对成功来说总往往可加以原谅,或者最后说总的还是成功的。我们如果辩证地看,则可以这样说,在继承传统之余必须要有充分的创新,即从“现实的需要出发对传统作转变的工作”。如果工艺总是老一套形式,形式总是老面孔,色彩总是陈调重弹,即使在功能上还可以过得去,能满足业主的一般要求,但从社会发展来看,从两个文明来看,无论如何在组织形式上、在事先指导上、在各专业的协调、在通气上都应该重新思考,不能一味循旧。在工艺上必须要创新、要提高、要有些新东西。在选型、色彩上必须要美观、要有所升华,否则就不能使业主感到非常满意,不能心情舒畅。为此可以说挑战创新是必须的,是绝对的,没有创新就会暮气沉沉没有生气,就不能前进。4 防止专业之间的各行其是长期以来,给排水工程的习惯做法是工艺一马当先,先提出设想,后再递交给其它各工种,尽管各工种可以回提条件给工艺,但由于已成习惯,且因为各专业对工程总的概念认识不足而未能充分进行必要的商榷了解,互相质疑,因此就提不出内在的、关键的问题,致使矛盾隐蔽得不到圆满的解决,有时还会引起返工,最后造成木已成舟的尴尬局面,导致项目得不到最佳的方案,达不到最理想的质量。从管理科学上来说事先指导,预先协商,不把问题的解决拖到最后,这是最科学也是最有效的工作方法。如果一个专业的设计,一味地关在工作室里,并且总是闭门苦思(即没有和其它有关专业认真商量研究),就只会把这些设计(即使是本专业中最优秀的设想)从一个社会现象变成了一个孤零零的个体,并且将这个专业完全裹入到“绝对正确”之中而一丝也动弹不得,其结果必然是感觉迟钝且视感平平,最后远不能满足业主的总要求。因此,在整体设计中要非常重视事先的协调,重视事先的各有关专业的参与协商,并且必须认识到这不光是一个单一的项目也是一项系统工程,其优劣的关键必然是组成这个组织内的各有关要素的综合,而决不是一个主导专业的所为(当然,它是很重要的)。所以决不能允许各专业各行其是,或者说是过分地突出自己,而缺少必要的整体相融性。只有通过组织有序的精心的全面的设计安排,我们才能把一个初看好像支离破碎、意见分岐、没有完整性的模糊、凌乱的印象,变成一幅诗意盎然、变化有序、排列恰当、构图完美的图画。5 建筑设计的重要性不可忽视长期以来,由于历史的原因,建筑设计(特别是工业建筑)在思想上趋于封闭狭隘,在形式上趋于呆板一律,在色彩上趋于灰暗、单调,总之建筑在如何体现满足人类的舒适和精神要求这方面考虑得太少了,更谈不上在美观的构思上多下功夫,而只片面单纯地理解为单一的功能性构筑物,仅为满足生产而已,别无它求,诸如环境、空间、选型、尺度、色彩等方面都无关紧要也无须多考虑。因此在工业建筑中,建筑的地位一直不高,也没有什么发言权,最后造成厂区建筑不美观,品味不高,大家不满意。随着社会经济的发展,人民生活水平的提高,人们已不仅仅满足于需要有一流的先进的工艺、能生产出较好的社会需要的产品,人们的追求向更高层次发展,更需要有一个包括优美的环境,良好的工作条件在内的赏心悦目的舒适的氛围,更需要防止和减少工业建筑常有的废水废气对周边环境的污染。这就需要进行全方位的综合的建筑设计,对污染进行充分有效的处理,保证有清晰的水质和洁净的空气。建筑设计虽然不像工艺设计那样直接产生经济效益,但从全局、长远的效应来看,其对提高生产效率、保障职工的身体健康、社会的文明都能起到很好的、积极的能动作用。因此,我们有必要对给排水工程中建筑设计这个概念有一个新的认识,它必须是全面的、综合的、整体效应的结果并必须在整个设计过程中贯彻始终。设计实践告诉我们应该有一个懂总图的设计师来进行总的牵头、控制和协调,平衡各专业,取其所长限其所短来达到最佳的视觉效果,我们暂且称此设计师为总协调建筑师吧。在建筑设计全过程中,总协调建筑师要始终以能形成最佳环境景观的观念为依据,充分考虑到工艺流程的最先进、最便捷,结构布局的最经济、最合理,不断地向各有关专业的负责人就当地环境景观的形成进行有方向性的引导,并不时向他们提供大家能接受的各种状态建议或者能取得平衡的一些构想,以达到最广泛的共识,统一的行动。为了对全局进行有效的控制,总协调师还要根据其对环境景观形成的基本观念预先策划制定各项设计细则,它将作为整体设计的原则引导各个单体在循序渐进中得以贯彻、实现、完善,起到启发创新的作用。在此前提下,又要避免造成对各单体专业自由构想的束缚,以细则为依据进行整个设计运作的协调,在各专业之间按照具体的变化情况就整体和单体衔接部分之间进行柔和的调整,使之达到统一。此外,总协调师还要在尊重各专业特点的前提下,为实现全局的一种“缓和宽松的秩序”而进行工作,也就是说总的协调是指制约的开放性,或者说是在整体观上充分保持单体设计(专业设计)者的自立性,充分发挥其个性特点,把所谓的束缚性因素限制在最小的范围内,最后达到辩证的统一,即互相限制了各自的不足,又保留了各自长处,而且彼此心情愉快,形成最佳的综合效应。建筑物的设计处理大体有以下的一些手法:1公共建筑(1)总平面要结合地形地貌,因地制宜,构图优美,比例匀称,并注意韵律。(2)功能相近者尽量合并,减少地面分散的构筑群,要做到大中见小、见透。(3)要处理好内外部空间,做到宽松、明亮、空透、轻灵。(4)立面和平面都力求避免过于平直、呆板,可适当组织上下、左右、高低参差,和配以局部的弧形以示流畅、舒适。(5)色彩上可区别于厂区建筑,但又不能太过于突出,必须符合统一中求变化的大原则,即在和谐中求局部的突变和醒目。(6)屋顶的处理可以在平屋顶的基础上适当配以小斜顶,或局部注以建筑符号起到全区的点缀、装饰之用。2生产性建筑(1)合并同类型相近功能的设施,多占天,少占地。(2)平面要简朴,要注意构图均衡,立面处理不宜运用过细的线条,要突出块形,要有厚实感。要注意虚实对比,高低有序,前后层次,交错合理。窗子形式可作为一种图案,多求变化。(3)要注意细部设计,任何一种粗心大意、不拘小节都会给整个建筑带来败笔。特别要注意室内的线路,管道、孔洞都要精心设计,合理安排,一般不暴露在外。(4)色彩处理宜平淡整洁为主,另配局部点缀,其鲜明程度要次于厂前区建筑的色彩处理。(5)要考虑到建筑物的连接体处理,可以理解为是一种过渡,进行超常规的处理,并顾及相互的空间和环境。(6)屋顶的处理可略同厂前区建筑。结束语综上所述,给排水工程的建筑设计是一门多学科又“色、香、味”俱全的特殊工程,牵涉到的因素方方面面,千头万绪。本文因涉及到的面较广,工艺流程也较复杂,目前还存在着不少亟待解决的理论与实践的关系问题,由于这方面的理论较缺乏,实践不够,因此肯定会有许多不足,但不管怎样只是想通过本文能对水厂(污水厂)的建筑设计全过程引起重视,作为提高水厂(污水厂)整体设计质量的一种尝试、探讨。回答的字数有限制的 没法译了 不好意思..
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